The Rape of the Sabine Woman, ink and pencil. After Nicolas Poussin

The passepartout contains the following legend 'Jean-François Raffaëlli - Paris 1889 - E. Universelle - 1885'.

Provenance: Mercedes von Dietrichtein, Buenos Aires. Alexander von Dietrichstein. By descendants Morritz von Diestrichstein. Nicolaes Pieterszoon Berchem (1 October 1620 – 18 February 1683) was a highly esteemed and prolific Dutch Golden Age painter of pastoral landscapes, populated with mythological or biblical figures, but also of a number of allegories and genre pieces. He was a member of the second generation of "Dutch Italianate landscape" painters. These were artists who travelled to Italy, or aspired to, in order to soak up the romanticism of the country, bringing home sketchbooks full of drawings of classical ruins and pastoral imagery. His paintings, of which he produced an immense number, (Hofstede de Groot claimed around 850, although many are misattributed), were in great demand, as were his 80 etchings and 500 drawings. His landscapes, painted in the Italian style of idealized rural scenes, with hills, mountains, cliffs and trees in a golden dawn...

Inscribed: front, brown ink, bottom left, F. Imperiali pinx…; bottom right, R. Rol..(?). Back, brown ink, top left, Roma, Gune(?) 1742 / F. Impeririali ping…;[illegible] R. deline..(...

Giovanni Francesco Romanelli (born Viterbo 1612; died Viterbo 1662) St. John the Baptist pointing out (revealing) Christ, in the far distance, to Simon Peter and Andrew. Oil on can...

An engraving by Jerónimo Wierix after Marten de Vos's Saint Michael the Archangel (Iglesia de San Miguel, Córdoba) may have been a source f...

Willem van Nieulandt the Younger, the son of Adriaen van Nieulandt the elder, was born to a family of artists from Antwerp. They moved to Amsterdam in 1589, after the Siege of Antwer...

The drawing, pencil on laid paper 29 x 27 cm, represents a moment of rest during the Flight to Egypt. It's a study on an etching ispired by a Guido Reni's painting, made by him durin...

Preparatory Drawing (sanguine on paper, 42 x 28 cm) by Francesco Furini for the making of the Saint Sebastian, ordered by the prince Lorenzo de' Medic...

Heinrich Adam Elias Borny (German, 1742-1778) • Late baroque Ink and pen drawing on laid paper (no watermark) • Sheet, ca. 29.4 x 22.7 cm • Imag...

18th Century French Sanguine drawing, possibly a preparatory sketch for the painting by Nattier after the painting by Rubens. Presented in shaped 'marie-louise' mount in plain gold wood frame with collection label. The subject is the Queen Marie de' Medici seated on a grand throne, the baby is in the arms of Health while Justice looks over him. Fecundity brings a cornucopia of fruit with the heads of the other children the Queen will bear. The Sun rides his chariot across the sky to indicate that Louis XIII was born in the morning and the calm figure of France surveys the whole scene. An engraving exists (see the Wellcome Collection) of this same image: 'The birth of King Louis XIII', after the engraving by B. Audran the younger after the painting by Jean-Marc Nattier after the oil painting of Peter Paul Rubens in the Louvre 'La Naissance du Dauphin (future Louis XIII) à Fontainebleau, le 27 septembre 1601'. Jean-Marc Nattier (17 March 1685 – 7 November 1766) was a French painter. He was born in Paris, the second son of Marc Nattier (1642–1705), a portrait painter, and of Marie Courtois (1655–1703), a miniaturist. He is noted for his portraits of the ladies of King Louis XV's court in classical mythological attire. He received his first instruction from his father, and from his uncle, the history painter Jean Jouvenet (1644–1717). He enrolled in the Royal Academy in 1703 and applied himself to copying pictures in the Luxembourg Palace, making a series of drawings of the Marie de Médici painting...

Ink, litho crayon & collage on paper

Inscribed “55” and “218” in the lower right Watermark: Heawood 1351 Laid down on historic Cassiano Del Pozzo mount (Mount Type A, 531 x 402 mm) Provenance: Commissioned by Cassiano dal Pozzo (1588–1637) for his Museo Cartaceo (Paper Museum) and kept in the library of his palazzo, via dei Chiavari, Rome Transferred with the entire dal Pozzo collection by fidecommesso to his younger brother, Carlo Antonio dal Pozzo (1606–1689); by descent to his second son: Gabriele dal Pozzo (d. 1695); by descent to his wife: Anna Teresa Benzoni and after her remarriage in 1697, the Marchesa Lancellotti de’ Ginnetti (d. 1736); by descent to their son: Cosimo Antonio dal Pozzo (d. 1740); by whom sold with the Dal Pozzo library in 1703 to: Pope Clement XI for the Vatican Library; by whom transferred as part of the Museo Cartaceo in January 1714 to his nephew: Cardinal Alessandro Albani (1692–1779), Palazzo ‘alle Quattro Fontane’ in Rome; by whom sold in 1762 to: James Adam, agent for the British Royal Librarian Richard Dalton (1715–1791) King George III of England, Buckingham House Among the sheets of the ‘Museo Cartaceo’ appropriated by Richard Dalton during a reorganization of the drawings, circa 1786-1788; his estate sale, Greenwood’s, London, 11-19 May 1791; where acquired by: John MacGowan...